JO
BONDY
Jo Bondy can be described as one of very few British women Pop artists, although she was never acknowledged in art historical narratives of the movement. A group of her assemblages incorporating collections of memorabilia show an influence of the work of British Pop Art pioneer, Peter Blake. Bondy's work also often explored women's sexuality and made reference to women's 'roles' in society using her own, often explicit, sometimes even ribald, iconography. Her works, with their female subjectivity and overtones of Surrealism, often implied her awareness of the feminist movement and of the practice of other women artists.
Jo Bondy studied at St. Albans School of Art in the late 1950s and spent much of her life as an art teacher and artist. In later life, Bondy spent much of her time drawing at her house in rural France. She once described herself as "starting late", and it was not until the 1960s into the 1970s, that she produced a substantial body of assemblage sculptures, sculptural box-works, drawings and ceramics that primarily explored gender, sex, and eroticism
Jo Bondy studied at St. Albans School of Art in the late 1950s and spent much of her life as an art teacher and artist. In later life, Bondy spent much of her time drawing at her house in rural France. She once described herself as "starting late", and it was not until the 1960s into the 1970s, that she produced a substantial body of assemblage sculptures, sculptural box-works, drawings and ceramics that primarily explored gender, sex, and eroticism
Available work
Heart and Flower, 1971, graphite on paper, 4.25 x 3 in. /10,8 x 7,6 cm
Peach Box, 1971, graphite on paper,
5 x 4.75 in./ 12,7 x 12 cm 
Violin case II, 1978, colored pencil and graphite on paper , 5.25 x 3.5 in.
/13,3 x 8,9 cm |
Untitled (flower), 1979, graphite on paper, 10.78 x 8 in / 27,4 x 20,3 cm
Violin case I, 1978, colored pencil and graphite on paper , 5.25 x 3.5 in.
/13,3 x 8,9 cm |
